注册 登录  
 加关注
   显示下一条  |  关闭
温馨提示!由于新浪微博认证机制调整,您的新浪微博帐号绑定已过期,请重新绑定!立即重新绑定新浪微博》  |  关闭

verve中文网

Verve Fansite of China

 
 
 

日志

 
 

[Memorandum]Richard Aschcroft-Everybody is Talking  

2011-03-04 09:43:57|  分类: Interviews&repor |  标签: |举报 |字号 订阅

  下载LOFTER 我的照片书  |
It was the best of times, it was the worst of times. Flashback, 1998: Despite scoring a huge hit in America with "Bittersweet Symphony," The Verve's highly contentious reworking of an orchestrated version of The Rolling Stones' "The Last Time," things were not well within the English band.

[Memorandum]Richard Aschcroft-Everybody is Talking - the verve - verve中文网
 
After postponing an American tour in February to support its Stateside breakthrough, "Urban Hymns," The Verve announced plans to head out on the road with influential trip hoppers Massive Attack. But before the pairing ever had a chance to materialize, Verve guitarist Nick McCabe dropped out of the band, and a few weeks later, Massive Attack dropped off the tour.

By then, the writing was clearly on the wall. Despite soldiering on through a summer tour of the U.S. and Europe that concluded with a concert before 100,000 Dubliners at Slane Castle in August, the band had effectively run its course. Eight months later, in April 1999, The Verve announced that it had called it quits.

Former frontman Richard Ashcroft almost immediately begun work on his first solo record, enlisting the aid of his wife, keyboardist Kate Radley, Verve drummer Peter Salisbury, and pedal steel guitarist B.J. Cole, who filled in for McCabe on the last Verve tour. A few months later, Ashcroft and Radley would discover that she was pregnant. (The couple's first child, Sonny, was born this past March.)

Ashcroft's resulting album, "Alone With Everybody," is a sweeping, emotion-laden record that offers a snapshot of the artist at several different crossroads, both in terms of his career and his personal life. MTV News' David Basham recently sat down with Ashcroft and discussed the new album, its poetic origins, and the songwriter's fascination with literary dualities and New York City.

* * *
MTV: The Verve's last album, "Urban Hymns," started off as a solo project before you re-enlisted the band. Did that separation make it easier to approach the making of this album?

Richard Ashcroft: I think I've suffered in the past for kind of getting somewhere and then having to start again. It would have been a lot easier if the ["Urban Hymns"] album had been my album and this was my second album. Constantly doing comebacks [means that] so much weight is put on a record before it's even been finished.

To me, I look upon this record as the first time I've put a collection of songs together, all self-written, a flowing 13 tracks. It's my first record, really. I did seven songs on the last [Verve] album, so I'm in my very early days as far as the songwriting is concerned. I've only written 25, 26 songs. But I was aware of the pressure. I'm aware of the pressure of coming from the last record, but I work on instinct and do most things on instinct, and it's only afterward that you start really analyzing what's been done.

MTV: Following the breakup of The Verve, did you seriously consider just retiring from music altogether?

Ashcroft: I think that thought is always with me. I think anyone who has chosen a certain path, they're always aware that there's a path running parallel and a completely other life waiting for them if they want it, if they're brave enough for it. I've always been aware of that. That's why the band stopped before [it finally broke up]. It was almost a statement to myself and to everybody around me that I wasn't afraid to say, "No, I've had enough of this. This is driving me crazy, and it isn't worth it."

What I'm talking about there is really, at this point in time right now, I could be lying next to a stream with my wife and my baby, looking and taking in the sky, but I've chosen to go a different route. I've chosen to be in New York City over these few days and promote the record. 

It's about asking when is the right time to say, "Yeah, I'm taking a step back now. I'm gonna close the door for a few years and I'm gonna invest my time in my family and the people around me." Through that, I'll probably have more empathy and write better songs.

[Memorandum]Richard Aschcroft-Everybody is Talking - the verve - verve中文网
 

MTV: The one holdover from The Verve is drummer Peter Salisbury. Does he just know your cadence so well that you're comfortable with his groove?

Ashcroft: It's very much a cadence and rhythm thing, between me as a songwriter and him as a drummer. Pete learned most of his drumming style through a jamming kind of backdrop. That's how we got better and more proficient -- well, proficient is the wrong word, because it kind of gives you the idea that we're playing "Stairway To Heaven" in a guitar shop.

It's a different kind of [understanding]. It's when you don't have to look at a guy and he knows you are going to be bringing it down in the next two seconds. It's something in the head. I think Keith Richards calls it the "ancient art of weaving" between two guitars. That's what music is all about, weaving subconsciously, knowing when to bring a track down, and knowing the dynamic.

I was just comfortable with Pete, and I found it was very easy to put tracks down with him. A lot of my decisions are made like that, very simply, and for the right reasons. He's a great drummer, a good friend, and like you said, it is a cadence thing, a dynamic thing, and he knows when to give it up and when to kick off.

MTV: I understand that the title of the album, "Alone With Everybody," was inspired by a poem from Charles Bukowski.

Ashcroft: Yeah, but I saw the title before I read the poem. I couldn't say that I read the poem and thought, "That's [the title] for the album." I saw "Alone With Everybody" and it just came off the page. Then I read the poem and I thought, "Well, you know, it's not too dissimilar to the things I touch upon in the album tracks." It offers a little less hope than my music does, so I wouldn't go out reading that poem and expecting it to sum up this record.I think the title sums up the record in a sense that as a solo album, it's me alone, yet I share it. I share two things with everybody: life and death, and what you're getting on the record is life and death and pretty much everything in between. [Laughs] There is more celebration on this record, I think. There's more joy on this record than the last one, and that's a good thing.

MTV: In one of the new tracks, "New York," I was struck by the chorus "New York, are you tuning in?" That seems to be both an invitation and a challenge.

Ashcroft: I like the arrogance of that, 'cause there's an arrogance to it, and there's also something for the listener: "Are you tuning into this, my New York, this thing I'm presenting to you, are you in with me? Right, let's carry on to the next verse."
It's kind of a double take on that lyric. But really it describes that rush of energy and emotion that occurs when you first hit the city, and for me at the age of 20, 21 when I came over with the band. Just that selfish feeling of where the set was built for me, it's all mine, this city, and I'm going to lose my inhibitions. I'm going to eat you all up and then I'm gonna fly home in a few days. It's this kind of selfish, tourist, indulgent thing.

I think a lot of people back home who have been over here have really experienced that, because we've been fed this city, this skyline, for so long that when you're finally in it, for us kinds of guys, its just fantastic. It's marvelous. It doesn't wear off just getting out of the car and just looking around Times Square. Whatever you make of the most famous square in the world, it is just one big advert. But it is still serious eye candy.

When we went back home that first time, we were like New York evangelists. I was the T-shirt and the bag, y'know, "I Love New York." [Laughs] Because when we first did New York, we played out there on the back of a truck. That was the first time I'd seen Times Square. I've said it before, but it was pretty mind blowing, jamming some mad psychedelic music on the back of a flatbed truck in Times Square, the first time I'd ever seen the place.

[Memorandum]Richard Aschcroft-Everybody is Talking - the verve - verve中文网
 
MTV: Another one of my favorite tracks is "On The Beach," which has a surprisingly alt-country flavor and some nice steel guitar courtesy of B.J. Cole.

Ashcroft: Yeah. That lap steel is backwards from another track, which worked really well on that one. It first started off with a lot of backwards vocals, all looping together with this backwards piece of pedal steel, and that sound created an ocean-like feel. It sounded like waves. That was one that I conjured up in the studio, and I've always been obsessed with "Lord Of The Flies" and "Robinson Crusoe," anyway.

But I used that as a metaphor for being truly on your own and at the point of a big decision, at the crossroads... when you see the devil's servant and you send her or him home and say, "Bring me your master." It's the point where you can no longer tempt me. You can no longer take me off my road. I'm on it, and I'm walking down it, and I'm "full of love and new desire." I'm so fulfilled at this point now that "I ain't even afraid to die."

It's mixing that with the story of the shipwrecked guy who makes his boat from bamboo, "but it sunk." Again, I like to try and write certain lyrics that have [dual meanings]. It's just like "Animal Farm." On the face value, it's a great story about farmyard animals. Or is it about Trotsky and the Russian Revolution? Who knows?

You've gotta put a little bit of a twist on it. I think there's more humor in that than some of those lines. There's humor there. The last line, as it's fading away -- you might hear it -- it says, "I ate the beetles for lunch." But for me, it isn't eating the beetles for lunch on the beach, it's "I ate the Beatles for lunch, so just stop it." I mean, The Beatles are fantastic, I love them just as much as everybody else. But come on, you know?

  评论这张
 
阅读(359)| 评论(0)
推荐 转载

历史上的今天

在LOFTER的更多文章

评论

<#--最新日志,群博日志--> <#--推荐日志--> <#--引用记录--> <#--博主推荐--> <#--随机阅读--> <#--首页推荐--> <#--历史上的今天--> <#--被推荐日志--> <#--上一篇,下一篇--> <#-- 热度 --> <#-- 网易新闻广告 --> <#--右边模块结构--> <#--评论模块结构--> <#--引用模块结构--> <#--博主发起的投票-->
 
 
 
 
 
 
 
 
 
 
 
 
 
 

页脚

网易公司版权所有 ©1997-2017